SONGS FOR SOULS

Well,well,well ! A new album for Mr Alberto Rigoni, bassist extraordinaire from Italy, so time for high quality music !This new musical extravaganza is the most mature, complete, complex and elaborate album so far for this brilliant musician !Just look at the names of the special guest stars invited on the album and you realize this one is truly a magnum opus for it's author ! It's a very diverse, mature and impressive album !Written in a difficult period of time for Mr Rigoni, this album has a very special and personal importance for him ! A personal family loss is a tragedy that brings out some unexpected and impressive artistic resources, it's the source of unexpected inspirations and ways of artistic displays.. This is the feeling that we have after we make an audition of this album !Maturity, sobriety, diversity,musical integrity and passion for this wonderful instrument called bass. The musicians invited are making great, remarcable performances, it's impressive to see the cohesion and consistency of the compositions.Catchy from the first to the last note, this album deserves many audition to fully understood in it's message and to understand the state of mind of Mr Rigoni, when he composed this true musical jewel !The diversity is impressive and each track has a very strong personality and individuality!Love it so much. Complimenti,maestro and endless inspiration in the future to spread to the world your immense talent and musical stills!5 stars without any hesitation for a work of art.

Alberto RIGONI is the Italian bassist who played in ASCRA covering the titles of DREAM THEATER, then in TWINSPIRITS with a pronounced prog metal taste at SYMPHONY X; he starred in BAD As; he has also released personal albums including this one, the eleventh, coming out at a singular moment in his life, a vibratory and intimate tribute in fact; a parable about our passage on earth. Surrounded by RUDESS and BATTEN, I couldn't miss this album which makes him take up the torch at the end of the pandemic. Music between prog rock, fusion and ambient experimental under his sharp bass playing.

"The Miracle" low, bell, aerial dream, sober and dark at the same time to set the scene. "The origin of the world" on a cry of a newborn baby, a romantic ballad with intentional spleen, the appearance of the posed keyboards of Jordan RUDESS then of his crystalline piano, the guitar of Jennifer BATTEN make this title one of the moments highlights of the album, a musical firework. "Youth" more crazy rock atmosphere with a zappaesque part, the end becomes jazzy then twirling prog, bringing notes of life, joy, beauty, Jennifer being there for a lot in this feeling. "Talking with My Demons" featured by Mark ZONDER then Alessandro's piano for a mysterious escapade, the notes tortured before finally being played; the break with the flute à la GENESIS launches an overwhelming spleen, disastrous march in focus, archaic moment where the music seems to speak. "Suddenly" starts with a fairly sustained rhythm section where the bass will come and say hello to spitting SERRA, expressive intensity, introspective, it's beautiful and addictive in a few seconds.

"The Battle" sad, moving, synth à la Wally BADAROU on a melancholy tune; a guitar solo by Tommaso reminding me of our colorful Patrick RONDAT; the military battery sounding the death knell of this lost battle on one side, hope on the other side with the richness of the colored notes. "Silence" for the descent into borderline ultra- bass territory sprinkled with atmospheric pads; a pure meditative moment where contemplation is charged with humility; the image of an aphonic bubble far from everything, shhhhh, I'm restarting the replay. "Keep On Fighting" takes us out of this state by bringing us back to a melodic rock metal tune worthy of the master Yngwie MALMSTEEN; it comes out everywhere, from Edoardo's neck and Mark's hit amplifies the aggressive measure. "Peaceful Acceptance" hints at the end with a divine and minimalist bass-piano pairing, simple and fresh as morning dew; So it drips and it allows you to dream of a moment of tranquility, serenity. "Souls Never Die" concludes this set of hope, a punchy rock made to sweep away this moving moment of the artist and move forward, a necessary message to have in each of us for the hard times in life. The sound becomes fat, meaty, expressive, with the concentrated energy of Fabrizio and Marco.

Alberto RIGONI has therefore surrounded himself with musical talents to deliver this delicate and charming opus, intimate and deep, meditative and bewitching, just to help overcome the phenomenon of mourning, an absolute cathartic phenomenon in itself; a requiem for his father, a vibrant album by a bass player who played for the greatest such MACALUSO, MANRING, HARRISON and EDWIN, MOORE, MINNEMANN, EDMAN, ALAN PARSONS, LANDE, GILBERT. Ambient instrumental, fusion on progressive rock, beautiful music.

During Covid, Alberto decided he was not going to release any more music, but after his father dies towards the end of 2015, he decided to bring in some friends to assist him in making an instrumental release as a tribute. Rigoni is of course a bassist ((solo, BAD As, Natural Born Machine, Bassists Alliance Project, Vivaldi Metal Project etc.) and this release includes contributions from Jordan Rudess (Dream Theater), Jennifer Batten (Michael Jackson, Jeff Beck), Mark Zonder (Fates Warning) and others. The result is something which contains some amazing musicianship, yet somehow leaves me really cool. This is while there are some interesting numbers such as "Talking with My Demons", which has mightily impressive contributions from drummer Mike Zonder and keyboard player Alessandro Bertoni, there are plenty of others with huge note density but no direction.

I have played this a few times now, but each time I soon start wondering what I am going to cook for dinner and how much longer does this have to go? That I find it more interesting than his release with Marco Minnemann, 'EvoRevolution', is not exactly something to shout about given I found that one tedious and boring. This is not in quite the same league, but while pleasant I found little here which makes me want to go through it again.